Film year book : 1922-23 (1923)

which much is to be expected during this year. The Selznick organization expects "Rupert of Hentzau" to set them well up during the year as an important production organization. Practically every executive of importance has expressed the belief that "only big pictures pay." To this end producers generally directed their endeavors. There were, however, during the past year a number of successes which prove the desirability of good pictures at a price to the exhibitor whereby he could establish a profit and yet at the same time satisfy his clientele. Universal Film, with "The Storm," demonstrated this most satisfactorily. This same organization has in contemplation for 1923 several productions which thev think will meet with the same result, notably Booth Tarkington's "The Flirt," made by Hobart Henley. In addition there is a strong possibility of Universal's big production of "The Hunchback of Notre Dame" being released during the coming year. For some time past Lon Chaney has keenly desired to make this. While the "big" specials of Fox Film failed in a way to prove the box office sensation comparable with those of 1921. there is no indication that Fox will step aside from the big special program for the coming year. The Film Booking Offices of America — the reorganized Robertson-Cole Corporation — has some ambitious plans including "The Third Alarm," a fireman's picture somewhat on the order of "In the Name of the Law," a policeman's picture, and it is understood that they are going into the railroads, the life of a postman and other such human subjects as part of their program. This type of picture invariably meets with success because of its common appeal. Vitagraph plans more important productions. The likelihood of Samuel Goldwyn's return to the industry as a producer is imminent at this writing. The development of Jackie Coogan is also fraught with interest. The success of "Oliver Twist" was unusual and established him definitely as a star. PRICES A long sustained and continuous wail was heard throughout the year and promises to continue relative to rentals on important and so-called big pictures. Many exhibitors feel that the prices asked are ruinous, but despite this they seem to continue to pay these prices. Naturally, thev continue to go up. On the other hand, producers maintain that while prices are high they are still below the level of what they should be to secure from these large productions the natural profit which the investment should produce. As an instance of this a prominent producer cited that it would take Fairbanks at least eighteen months or two vears to secure the return of the actual investment of "Robin Hood" before "he made a nickle." This despite that "Robin Hood" is being sold at unusuallv high prices by United Artists. FOREIGN PICTURES With the closing of the German branch of Famous Players late in the vear much of the talk in opposition to foreign pictures faded away. Little is feared today of what threatened to be "the foreign invasion." It is interesting to note, however, that the development of British production reached a point unusually worth while and interesting pictures reached this country from England, notablv "A Bill of Divorcement." scheduled for spring release by Associated Exhibitors. Information at hand as to the plans of several important English companies are indicative of large productions made with stars well-k-nown in America to arrive during the spring and summer. Among these are the Tom Terriss specials from Ideal Films and the Gaumont Companv of London. Stoll's picture. "The Prodigal Son," a well-known Hall Caine story, is anticipated with interest and there are others in the making. At this writing England, rather than Germany, seems to be the only possible rival of American production.